Bibliografías temáticas / Literature fiction poetry criticism

Literatura académica sobre el tema "Literature fiction poetry criticism"

Autor: Grafiati
Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Literature fiction poetry criticism"

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Yoo, Hyun-Joo. "Analysis of Trends in Research on Children’s and Young Adult Literature/Literature Education". Korean Society for Teaching English Literature 26, n.º 2 (30 de agosto de 2022): 87–123. http://dx.doi.org/10.19068/jtel.2022.26.2.04.

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Since the Korean Society for Teaching English Literature (KSTEL) was founded in 1992, it has grown into an academic organization representing English literature-related research and education in Korea through various active academic activities, including biannual academic conferences and the publication of the Journal of Teaching English Literature (JTEL) three times a year. JTEL is a vital source of information on children’s and young adult literature and literature education by featuring analyses of poetry, fiction, drama, film, and non-fictional materials and providing ideas for teaching children’s and young adult literature in the classroom. To celebrate KSTEL’s 30th anniversary, this paper reviews and draws the trajectory of the kinds of writers, literary works, and research topics that scholars have been interested in. In this paper, I comprehensively examine and analyze the changes in goals, methodology, topics, themes, perspectives, and contents of research papers related to children’s and young adult literature criticism and literature education over the past three decades. I also make some suggestions regarding the journal’s direction for the future based on personal opinions and beliefs.
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Muñoz Covarrubias, Pablo. "María Zambrano y la quimera". Revista Valenciana. Estudios de filosofía y letras, n.º 28 (9 de junio de 2021): 173–200. http://dx.doi.org/10.15174/rv.v13i28.523.

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María Zambrano and the Chimera During her career as a philosopher, writer and thinker, María Zambrano once and again portrayed literature as a special space for her research. In that sense, she investigated the principal traits belonging to the razón poética in several genres such as poetry and fiction. The purpose of the following pages is to investigate the way in which she read and recreated literary works chiefly by Miguel de Cervantes and Benito Pérez Galdós. Her literary criticism is anchored to metaphoric symbolism. One of her most recurrent symbols is the chimera. The chimera becomes an indispensable and ambiguous image in her analysis of Don Quixote and Misericordia. Key Words: María Zambrano, Literary Criticism, Razón Poética, Cervantes, Pérez Galdós
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register". Language, Context and Text 1, n.º 1 (4 de febrero de 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.

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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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Souza, Roberto Acízelo de y José Luís Jobim. "BRAZILIAN LITERARY CRITICISM AND HISTORIOGRAPHY". Revista Brasileira de Literatura Comparada 22, n.º 41 (diciembre de 2020): 37–45. http://dx.doi.org/10.1590/2596-304x20202241rac.

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Abstract: In Brazil literary studies, after scant manifestations in the colonial period, represented by the activity of literary academies founded in the 18th century only really expanded in the course of the 19th century. National literary production grew in quantity and quality, as did literary studies, which, on the one hand, were demanded by this production- that, after all, needed to be studied and evaluated -, but, on other hand, stimulated this creativity, as they established as a criterion of value the alignment of fiction, poetry and dramaturgy with the nationalist agenda. As a result, from the 1820s until the 1880s, literary studies in Brazil underwent a period of expansion and diversification. If in the 1800s literary education was conducted at high-school level, from the 1930s onwards university courses in literatures began to be established in Brazil. In this paper we will provide a short introduction to Brazilian literary criticism and historiography from its very beginnings to the present time.
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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina y Ekaterina O. Shmeltser. "Technology of poetry presentation via Emoji Maker platform: pedagogical function of graphic mimesis". CTE Workshop Proceedings 7 (20 de marzo de 2020): 264–80. http://dx.doi.org/10.55056/cte.359.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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Montes-Alcalá, Cecilia. "Code-switching in US Latino literature: The role of biculturalism". Language and Literature: International Journal of Stylistics 24, n.º 3 (agosto de 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.

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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.
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Byrne, Deirdre C. "“The Wings of the Redwing Hawk”". Extrapolation: Volume 63, Issue 2 63, n.º 2 (1 de julio de 2022): 181–204. http://dx.doi.org/10.3828/extr.2022.12.

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Ursula K. Le Guin is well known and widely studied for her outstanding career as an author of speculative fiction. There is much less scholarly criticism of her poetry, which constitutes eleven volumes (Ursula K. Le Guin Literary Trust) and deserves sustained attention. This article explores one section of her poetry—the poems published in Always Coming Home (1986, hereafter ACH)—as a response to the environmental degradation that has been the hallmark of the past two centuries. I explore Le Guin’s creative practices within the framework of her insistence on a flattened ontology where humans and nonhuman living beings enjoy equal status and humans’ dependency on nonhuman nature is acknowledged. The article probes the status of the poems in an exceptionally innovative text, namely the imagined history of a people who “might be going to have lived a very long time from now in Northern California” (ACH n.p.). In exploring Le Guin’s view of human inter- and intra-actions with nonhuman animals, I also take note of the formal features of the poems which are intertwined with their semantic aspects.
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Monaco, Benedetta. "Poematis genus ambigui I concetti di veritas, fictio e visio fra Petrarca e Boccaccio". Mediaevalia Textos e estudos 40 (2023): 215–37. http://dx.doi.org/10.21747/21836884/med40a8.

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The paper aims to analyse, through multiple intertextual references, the reception of classical and me-dieval theory about relationship between veritas, fictio and poesis through Boccaccio’sand Petrarca’s examples. Starting from etymological and interpretative dissociation between the concepts of poetry and fiction, allowed by the rediscovery of Cicero’s Pro Archia, Petrarca and Boccaccio reaffirm the moral truth as center of poetic discourse, in defense of poetry against medieval accusations of defectum veritatis. A particular case of study is offered by the dialogicity of the elements of veritas and fictio in the new perspective of humanistic reworking of dream-vision’s literary theory in Boccaccio’s Amorosa Visione, and Petrarca’s Triumphi. This study highlights specifically the ways in which each author not only drew upon previous theoretical models (such as Macrobius Commentarium in Somnium Scipionis) and interacted with the genre of religious prophetic visions (like the Visio Alberici, Vision de Tondale)and the allegorism of Divine Comedy in the composition of his own oneiric texts, but also how, through their literary criticisms, they influenced the analysis of the symbols in subsequent literature.
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Abdurrahmani, Tidita. "Eco-Criticism and Nature Writing .the Trails of the American Approaches". European Journal of Social Sciences Education and Research 2, n.º 1 (30 de diciembre de 2014): 266. http://dx.doi.org/10.26417/ejser.v2i1.p266-278.

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Ecocritical attention has primarily focused on nineteenth– and twentieth-century British and American texts, predominantly non-fiction nature writing, and also nature-conscious fiction and poetry. The paper attempts to shed light to a series of puzzling but response-inciting questions regarding the American gendered approaches to nature, and the niche that Ecocriticism occupies in mainstream American Literature. The study is conceived as a merging of theoretical arguments and textual study. The theoretical part attempts to shed light on such issues as: Ecocritical traits and approaches; European vs. American approaches to nature; and Nature and Women's writing .The focus of the textual study are 10 American Nature Writing non-fiction classics and illustrated considerations of the main topics handled in these works. The study seeks to show that though ecocriticism is attempting to break new trails by going through the untrammeled nature-centered works, humans are failing to go within the unchartered depths of their spirit and consciousness. In terms of distinguishing in between the male gendered nature narrative and the female gendered nature narrative, the paper comes to the conclusion that there is a close connection between the systematic undervaluing of women's writing and the exploitation and abuse of the earth. While male nature writers mostly develop themes such as: the austerity of nature and the wish to explore and alter landscapes to suit the "human design"; the idea of hunting for a "trophy"; grandfather wisdom; wilderness and governmental institutions; earth as a religion, female-centered approaches to nature are marked by the occurrence of such themes as: moral –considerability of non-human beings; disapproval of economism; the bond to the land; anthropogenic destructive tendencies; nature/self consciousness. Nevertheless, although male writers fall into the snares of economism and exploring as a way of controlling, they still implicitly share women's consideration of the unbreakable bond to the earth and their awareness of the impactive immediacy to humankind.
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Rocca, A. J. "Samuel R. Delany as Genre Flaneur: Encountering Science Fiction in Dhalgren". Science Fiction Studies 51, n.º 1 (marzo de 2024): 53–73. http://dx.doi.org/10.1353/sfs.2024.a920233.

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ABSTRACT: Samuel R. Delany's Dhalgren (1975) moves through different genres and styles of literature in much the same way that Walter Benjamin's flaneur moves through the spaces of the city. Delany as a writer makes contact with any number of other traditions outside of science fiction, but he expresses no radical desire to revolutionize sf or move it into mainstream literature. Delany does not assimilate or synthesize outside influences into his work so much as he encounters them. In Starboard Wine (1984), his book of sf criticism, Delany defines "encounter" in literature as the interpretation of a text associated with one genre through the reading protocols associated with another. I argue that "encounter" is analogous to "contact," a concept from Delany's Times Square Red, Times Square Blue (1999) that relates to the real, physical interaction of individuals in an urban environment. Nowhere is this convergence of literary encounter and urban contact clearer than in his novel, Dhalgren. Dhalgren uses the city as a conceptual framework for encounters among a diverse array of influences including myth, poetry, autobiography, and literary modernism. These types of encounters are also plentiful in Delany's earlier work, but Dhalgren pushes them to a point where even sf itself is decentered and becomes just one more thing to be met in the space of the city.
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Tesis sobre el tema "Literature fiction poetry criticism"

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Graves, Jesse, Thomas Alan Holmes y Ernest Lee. "Jeff Daniel Marion: Poet on the Holston". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1621901998.

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The author of nine volumes of poetry and numerous other writings, the editor of several literary journals, the recipient of copious awards, including the James Still Award from the Fellowship of Southern Writers, and a longtime teacher and mentor, East Tennessee native Jeff Daniel Marion has come to be known as one of the most significant and beloved voices in Appalachian literature over the past four decades. The twenty-one pieces in this illuminating collection range from examinations of Marion’s poetry to considerations of his teaching career and influence on students, writers, and artists throughout the region and beyond. Acclaimed poet, novelist, and historian Robert Morgan writes about how Marion affected his development as a writer and the key role Marion has played in bringing Appalachian literature into its own. Scholar Randall Wilhelm’s essay, meanwhile, expands our appreciation for Marion not only as a poet but as a visual artist, tracing the connection between his photography and poetic imagery. Also included are essays by John Lang on the ways in which Marion’s poetry “gives voice to a spiritual vision of nature’s sacramental identity,” Gina Herring on how the poet’s father has served as his muse, and George Ella Lyon on the power of story in Marion’s picture book for children, Hello, Crow. Other features include an autobiographical essay by Marion himself, an interview conducted by co-editor Jesse Graves, and a bibliography and timeline that summarize Marion’s life and career. In the book’s introduction, Ernest Lee notes that in the poem “Boundaries,” from his first published collection, the young Marion “dedicated himself to his place, to the land and his heritage . . . welcoming whatever may come with a firm faith that ultimately his life as a poetic laborer will bring him to a true, sharp vision.” The eloquent contributions to this volume reveal just how fully that dedication has paid off.
https://dc.etsu.edu/etsu_books/1020/thumbnail.jpg
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2

Pereira, Fellipe Ramos 1988. "Erotismo e crueldade em Coxas - sex fiction & delírios de Roberto Piva". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270070.

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Orientador: Marcos Aparecido Lopes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-27T21:59:09Z (GMT). No. of bitstreams: 1 Pereira_FellipeRamos_M.pdf: 992086 bytes, checksum: 35d2346ea14779e6bf9fb3879bf1860b (MD5) Previous issue date: 2015
Resumo: O presente trabalho tem por objetivo desenvolver um estudo sobre a obra Coxas ¿ sex fiction & delírios de Roberto Piva. Buscar-se-á analisar os pontos de contato entre a crueldade e o erotismo no interior desta obra. Cabe assinalar que Coxas é uma obra erótica, que tem por tema o erotismo, e não uma obra com passagens eróticas. Por isso o que se busca fundamentalmente neste trabalho é analisar como erotismo e a crueldade são trabalhados pelo poeta. Para isso se desenvolveu dois pontos principais na pesquisa. O primeiro é exatamente o que diz respeito ao erotismo, porque a crueldade que se busca analisar provém deste aspecto e ele se mostra bastante relevante na obra em questão. O segundo é uma análise formal, pois há nitidamente em Coxas certa hibridização dos gêneros poesia e prosa. Para cumprir estas tarefas buscou-se primeiramente compreender como se compunha o quadro poético da época em que Roberto Piva inicia sua trajetória nas letras e como se configura o erotismo em sua obra. Em seguida se procurou alguns parâmetros especulativos que servissem de apoio à análises da obra nos aspectos apontados, por fim o problema formal se mostrou também de grande relevância, por isso há um capítulo destinado a expor os traços formais de Coxas
Abstract: This dissertation aims to develop a study about the book "Coxas" ¿ sex fiction & delirious, by Roberto Piva. We intend to analyze the points of contact between cruelty and eroticism within this work. It is worth highlighting that "Coxas" is an erotic literary work, whose theme is eroticism, and not an erotic passages book. That is why we seek primarily to investigate how eroticism and cruelty were used by the poet. In this regard we had developed two main points in the research. The first is exactly what concerns the eroticism, because the idea of cruelty that we seek to analyze comes from this aspect and it shows high relevance in the mentioned work. The second one is a formal analysis because it is possible to notice that there is poetry and prose genre hybridization into "Coxas". In order to accomplish this goal we sought to understand firstly on how the poetic scenario was composed from the time that Roberto Piva had begun his career in the poetic world and how eroticism had been configured in his work. And then, we tried some speculative parameters that work in order to give us support in the work analysis on what concerns the highlighted aspects. Finally, the formal point had also been showed highly relevant, so there is a chapter that intends to expose the formal features in "Coxas"
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Nicholson, Michelle A. "“To be men, not destroyers”: Developing Dabrowskian Personalities in Ezra Pound’s The Cantos and Neil Gaiman’s American Gods". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2628.

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Kazimierz Dabrowski’s psychological theory of positive disintegration is a lesser known theory of personality development that offers an alternative critical perspective of literature. It provides a framework for the characterization of postmodern protagonists who move beyond heroic indoctrination to construct their own self-organized, autonomous identities. Ezra Pound’s The Cantos captures the speaker-poet’s extensive process of inner conflict, providing a unique opportunity to track the progress of the hero’s transformation into a personality, or a man. American Gods is a more fully realized portrayal of a character who undergoes the complete paradigmatic collapse of positive disintegration and deliberate self-derived self-revision in a more distilled linear fashion. Importantly, using a Dabrowskian lens to re-examine contemporary literature that has evolved to portray how the experience of psychopathology leads to metaphorical death—which may have any combination of negative or positive outcomes—has not only socio-cultural significance but important personal implications as well.
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4

Flavell, Helen. "Writing-between : Australian and Canadian ficto-criticism /". Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.

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Pellis, Vivien C. y mikewood@deakin edu au. "Inspiration and Mimesis in Plato's criticism of poetry". Deakin University. School of Social Inquiry, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.124541.

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Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Plato’s criticism of poetry, very little work exists which discusses the connection between them. This study examines Plato’s treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the ‘inspiration’ dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the ‘mimesis’ dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the ‘one man, one job’ creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.
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Skelley, Steven J. "Yeats, Bloom and the dialectics of theory, criticism and poetry". Thesis, University of Nottingham, 1992. http://eprints.nottingham.ac.uk/13628/.

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This thesis begins by showing how a strong and subtle challenge to poetry and theories of poetry has been recently argued by writers like Paul de Man and J. Hillis Miller—critics whose ironic linguistic "disfigurations" of lyrical voice have thrown poem and poet into an anti-mimetic free fall, an abyss of bewilderment or undecidability. To its credit, de Manian deconstruction strongly misreads various mimetic approaches to William Butler Yeats, as its corrosive irony empties out theories of imitation. Chapter two explains how New Criticism, biographical, psychoanalytic, and philosophical criticism, all treat Yeats's poetry as a reflection or imitation of some prior being, text, or doctrine; and chapter three how, most recently and energetically, various new historicisms treat his poems as ideological artifacts determined by the world or history, but as artifacts that must seek to change the world in order to have value. Harold Bloom's theory meets such challenges. It enacts deconstruction's misreading of poem and poet without reducing them to a linguistic abyss; and it re-envisions mimetic approaches by reading poems in terms of genealogical influence, without moralizing. Chapter four investigates Bloom's vision of strong poetry as a "supermimesis" or in terms of gnostic figures of "negative transcendence." Bloom's work, however, also needs Yeatsian creative correction. As the fifth and sixth chapters show, it needs, like Yeats's poetry, to hold itself more open to the chaos of history. Invoking instruction from the very poetry that has so influenced Bloom's theory of influence, yet from which Bloom has turned away, this thesis re-interprets Yeats's poems and Yeats criticism generally. Using Yeats's openness to history to revise Bloom and his pragmatic theory of misreading to re-interpret Yeats, the thesis attempts to advance dialectically both Yeats criticism and Bloomian theory.
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Hart, Christopher. "'Fiction is the mask of history' : contextual readings of Byron's poetry". Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243001.

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Schubert, Layla A. Olin 1975. "Material literature in Anglo-Saxon poetry". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.

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x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)". Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory". Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.

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Libros sobre el tema "Literature fiction poetry criticism"

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Sylvan, Barnet, Berman Morton y Burto William, eds. An Introduction to literature: Fiction, poetry, drama. 9a ed. Glenview, Ill: Scott, Foresman, 1989.

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J, Kennedy X. y Gioia Dana, eds. Literature: An introduction to fiction, poetry, and drama. 4a ed. New York: Pearson/Longman, 2005.

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Barnet, Sylvan. An introduction to literature: Fiction, poetry, drama. New York: Longman, 2003.

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An introduction to literature: Fiction, poetry, and drama. Boston: Longman, 2011.

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Sylvan, Barnet, ed. Literature for composition: Essays, fiction, poetry, and drama. 6a ed. New York: Longman, 2002.

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Kennedy, X. J. Literature: An introduction to fiction, poetry, and drama. 8a ed. New York: Longman, 2002.

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J, Kennedy X. y Gioia Dana, eds. Literature: An introduction to fiction, poetry, and drama. 4a ed. New York: Longman, 2005.

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Sylvan, Barnet, Burto William y Cain William E. 1952-, eds. Literature for composition: Essays, fiction, poetry, and drama. 7a ed. New York: Pearson Longman, 2005.

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E, Scholes Robert, ed. Elements of literature: Poetry, fiction, drama. 3a ed. Don Mills, Ont: Oxford University Press, 2004.

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Sylvan, Barnet, ed. Literature for composition: Essays, fiction, poetry, and drama. 3a ed. New York, NY: HarperCollinsPublishers, 1992.

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Capítulos de libros sobre el tema "Literature fiction poetry criticism"

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Brown, Daniel. "Realistic Poetry". En Representing Realists in Victorian Literature and Criticism, 51–78. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40679-4_3.

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Hatem, Mervat F. "From Fiction to Social Criticism". En Literature, Gender, and Nation-Building in Nineteenth-Century Egypt, 113–50. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118607_5.

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Na’Allah, Abdul-Rasheed. "Criticism of African Art and Literature". En Globalization, Oral Performance, and African Traditional Poetry, 21–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75079-8_2.

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Longxi, Zhang. "Literary Prose, Fiction, and Late Tang Poetry". En A History of Chinese Literature, 166–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164173-9.

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Ellis, R. J. "African-American Fiction and Poetry". En A Companion to the Literature and Culture of the American South, 255–79. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch15.

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Mullett, Margaret. "No Drama, No Poetry, No Fiction, No Readership, No Literature". En A Companion to Byzantium, 225–38. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320015.ch17.

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Rzepa, Joanna. "A ‘Raid on the Absolute’: Dogmatic Tradition and Mystical Experience in T. S. Eliot’s Poetry and Criticism". En Palgrave Studies in Modern European Literature, 267–336. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-61530-7_6.

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Haring, Lee. "3. Giving an Account of Herself". En World Oral Literature Series, 121–74. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0315.03.

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Chapter 3 brings into the foreground, by name, the women storytellers recorded by Sophie Blanchy, who has extensively studied Comoran society and custom. Their social criticism more often focuses on a misogynistic man, even on a hypocritical Islamic master, than on a lazy wife. If in a story, a young girl is mistreated by her father’s new wife, almost to real or symbolic death, and then is recognized and restored to her proper place through the supernatural intervention of her dead mother, the fiction corresponds all too closely to family tensions in 1980s Mayotte. The central theme is the precious mother-daughter relation; ideally a daughter aspires to blend into her mother and live in her house. Verbal art in Mayotte exists to celebrate that relation. Performing such an oral tale is an instance of Hélène Cixous’s ‘woman writing herself’.
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Spaans, Ronny. "Diagnosing the Poetic Inspiration: Medical Criticism of Enthusiasm in the Poetry of Jan Six van Chandelier (1620–1695)". En Illness and Literature in the Low Countries, 81–96. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737005203.81.

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West, John. "‘A great Romance feigned to raise wonder’". En Stuart Succession Literature, 114–31. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198778172.003.0007.

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Historians have recently explored afresh the conflict and uncertainty surrounding the succession of William and Mary of Orange to the English throne. But literary criticism has offered relatively little analysis of its poetry. This chapter sets examples of verse panegyric on the succession alongside pamphlet literature, particularly focusing on a neglected succession poem by Elkanah Settle. The chapter argues that imagery of literature—poetry, fiction, and romance—in pamphlet polemic registered an understanding of the succession as an event that was either a remarkable true fiction or an illegal fabrication. This alignment of literary invention and constitutional innovation affected panegyric negatively because poets were unable or unwilling to use the form to offer advice to the new regime. A reading of A View of the Times by Settle shows a novel though ultimately frustrated attempt to retrieve for panegyric a role in shaping rather than merely reflecting contemporary politics.
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Actas de conferencias sobre el tema "Literature fiction poetry criticism"

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Liu, Chongxi. "“POETRY CARVED IN STONE”: DOCUMENTARY, LITERARY AND CULTURAL CONNOTATION IN BAI JUYI’S POETRY INSCRIPTION". En 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.04.

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The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
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BILGI, Levent. "ONTOLOGICAL THEORY IN LITERATURE". En 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-3.

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Ontological theory has developed with unnamed ideas since Aristotle. Roman Ingarden talked about the layers of being in his works of art. Ontology has come to the fore especially when analyzing the texts of poetry. Ontological theory works by not paying attention to extra-textual elements in the analysis of a text. It focuses on the text itself. It tries to understand the layers of literary text. Ontological Theory in Turkish Literature came to the forefront with Takyettin Mengüşoğlu and İsmail Tunalı's work called Art Ontology. İsmail Tunalı's work named Art Ontology has been published. After the publication of Art Ontology, it is seen that the publications on ontology have increased. Later, Ontological Theory gradually became one of the criteria for evaluating the work of art in our literature. Key words: Ontology, Theory, Art, Work, Criticism.
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Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)". En CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.

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Schiele, Alexandre. "THE NORMAL AND THE EXCEPTIONAL: A COMPARISON OF PU SONGLING’S AND MO YAN’S SURREAL WORLDS". En 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.10.

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From a comparison of the surreal worlds of Pu Songling and Mo Yan in their respective auctorial context, this paper argues that although Pu Songling’s short stories integrate surreal elements, contrary to the accepted typology of genres, they fall into realistic and not speculative fiction because the worldview of Imperial China in which he lived not only accepted the supernatural as real, but as foundational to the traditional order. By comparison, Mo Yan’s supernatural stories partly fall within supernatural literature, because post-1949 China espoused a scientific worldview which banishes the supernatural. On a second level, however, both Pu Songling’s and Mo Yan’s surreal fictions are political satires of their times. Yet, even on this point they diverge. While Pu Songling articulates the social and political criticism of his present to surreal elements, Mo Yan casts the surreal as a stand-in for the exceptional situations of his recent past which are the object of his criticisms.
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Informes sobre el tema "Literature fiction poetry criticism"

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina y Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], julio de 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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